'Children playing emerge from overexposed film spoiled by time. It is snowing. These solarized images deal with memory in this film of maturity by Mike Hoolboom. The tone is serious; his voice evokes his brother, his parents. The people appear onscreen as though they were disappearing. Hoolboom records the loss of loved ones whose features he stares at with lasting affection. Beautifully simple recurring shots of the white square with black lines crossing it represent the realm of the hereafter, where the ghosts go. With contained and poignant lyricism, Passing On addresses itself to death as something familiar, death which prowls and throws into relief the images of a cinema trying to resist another death, no doubt worse, a white death of memories forgotten, without images.' (Jean Perret, Visions du Réel Catalogue). 'Passing On was the densest and most exciting experimental film in Oberhausen since Pat O'Neill's Water and Power in 1989. The reflections on death, mortality and our common fate of passing are expressed in a technical sophistication and mastery rarely achieved by other filmmakers.